Variety's Scores

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For 17,771 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 IMAX: Hubble 3D
Lowest review score: 0 Divorce: The Musical
Score distribution:
  1. Positive: 9,130 out of 17771
  2. Mixed: 7,005 out of 17771
  3. Negative: 1,636 out of 17771
17771 movie reviews
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  1. Devil's Peak
    Despite some good performances and vividly written characters, Devil’s Peak crumbles due to Penn’s inexperienced performance. Otherwise, it’s an entertaining drama with some grandiose ideas about family legacy that make it peculiarly compelling.
  2. Reality
    Reality can be stranger than fiction, but “Reality” fuses the two to become stranger, and more riveting, still.
  3. Manodrome
    The characters feel thin, the secret society seems implausible and its goals too vague to capture the imagination. “Manodrome” taps into a deep unease at play in the wider world, but it presents only the shell of an idea, focusing on a not-terribly-interesting character with only the haziest of goals.
  4. She Came to Me
    We’re invited to laugh at what we’re seeing, yet Miller works in such a heartfelt and unassuming way that we’re never standing outside the quirks.
  5. BlackBerry
    The film, at least, feels fresh, making geek history more entertaining than it has any right to be.
  6. A Radiant Girl
    Newcomer Marder’s performance is a thoroughly engaging one. She manages to demonstrate both screen presence and likability, despite a role which requires her to represent youthful optimism to an almost symbolic degree.
  7. Moving On
    Tomlin’s terrific in this mode. The script is as bland as the “cardboard” they serve in her rest-home cafeteria, but she manages to inject it with vinegar and attitude, while embracing the realities of aging.
  8. The First Step
    While there’s much to admire here, there are stylistic choices that vex. The First Step stumbles as it tries to balance its interest in Jones with the significance of the bill.
  9. Winnie-the-Pooh: Blood and Honey
    It’s bad enough that the film doesn’t have the smarts to actually satirize its inspirational source. But bizarrely, it doesn’t really send up slasher tropes, either, while lacking the skillset to take play them seriously.
  10. Ant-Man and the Wasp: Quantumania
    “Quantumania” is fun, as well as bedazzling, relentless and numbing, then fun again just when you think you’ve had enough; all of that gets mashed together.
  11. Consecration
    In Consecration Jena Malone doesn’t just sport a casually impeccable British accent. She becomes British — her mood and manners, the way she rocks the sweaters and bangs and debonair politeness. She creates a compelling character, only to see the film’s director, Christopher Smith, swallow her up in all the ecclesiastical gothic malarkey.
  12. Seriously Red
    Director Gracie Otto’s Seriously Red disarms and delights as a sensationally spirited concoction that neatly balances unfettered outrageousness and unabashed sentimentality.
  13. Attachment
    For horror fans that are as compelled by creative (and thought-through) ideas as by style or skillful execution, “Attachment” embraces what to many may be a new or different text, but it’s clearly knowledgeable about the traditions of the genre — and most of all, deeply faithful to its spirit.
  14. At Midnight
    Boneta and Barbaro’s chemistry adds a simmering, sultry sway to the material’s rhythms, gifting it with an uplifting buoyancy. They’re magnetic together, driving our rooting interest for the couple.
  15. Your Place or Mine
    Your Place or Mine is an outrageously benign movie, which may not sound like much of a criticism. But it’s so benign it’s innocuous. There’s no tension, no comedy with any bite (except for the dry one-liners of Tig Notaro as the best friend who’s there to give advice), no romantic friction.
  16. Somebody I Used to Know
    The romantic comedy genre’s broad, patented hijinks and hilarity are indeed on display, but cleverly cloaked by a beautifully-realized portrait of delicately faceted characters and their relatable conundrums.
  17. Sharper
    A deep ensemble cast is game for this ambitiously overwrought material, but no amount of committed acting can overcome the movie’s manipulative artifice.
  18. Magic Mike's Last Dance
    “Toothless” probably isn’t the first word Magic Mike fans want to associate with Channing Tatum’s aging exotic dancer series, but there’s no denying the female-targeting franchise has dulled its bite over the past decade.
  19. The Integrity of Joseph Chambers
    The absurdity would be hilarious if it weren’t so horrifying. Your mileage may vary.
  20. Pamela, a love story
    Even as a thoughtful chronicle of the ups and downs of her life, Ryan White’s film plays slightly as a retread that amplifies the public’s love story with redemption arcs — especially for celebrities — more than it offers anything that has not already been revealed to the world.
  21. A Lot of Nothing
    Even if the onyx-dark humor and sardonic formal control go MIA eventually, “A Lot of Nothing” is really quite something.
  22. Baby Ruby
    Evocative and appropriately aggravating as Baby Ruby is in its portrayal of mental breakdown following traumatic childbirth, however, its parlaying of this condition into full-blown genre tensions and terrors yields mixed rewards.
  23. The Locksmith
    The plot is so straightforward and reminiscent of a thousand other crime movies that nothing will be missed. Alas, nothing is gained either, and the entertainment value is subpar at best.
  24. Small, Slow But Steady
    Director Shô Miyake’s measured, unsentimental adaptation of a memoir by Keiko Ogasawara — who turned professional despite the difficulties of lifelong deafness — turns out to be somewhat aptly described by its own title, though none of those adjectives quite conveys its rare and delicate grace.
  25. The Deepest Breath
    As a pure adrenaline-rush experience, however, The Deepest Breath is hard to argue with, coming closer than might seem possible to conveying the exhilaration and/or terror of descending further than the length of a football field into infinite aqua.
  26. The Amazing Maurice
    Courtesy of source material by offbeat fantasy maestro Terry Pratchett, it’s genuinely eccentric enough — with its sly talking cat, intrepid band of gold-hearted rats and chronic aversion to keeping the fourth wall intact — to come off as charming rather than smarmy.
  27. I Get Knocked Down
    When the movie — co-directed and produced by Emmy winner Sophie Robinson (“My Beautiful Broken Brain”) — relaxes into a more traditional doc approach, it’s on surer, if less dramatic, footing.
  28. Knock at the Cabin
    Knock at the Cabin takes a premise audiences think they know and does something unconventional and (alas) frustrating with it. Trouble is, these days, it’s no surprise to be let down by a Shyamalan movie.
  29. Pathaan
    Pathaan has a stop-and-go rhythm, and a strung-together structure, that grows wearying. (Two-and-a-half hours of frenetic derivative pulp is a lot of pulp.)
  30. Let It Be Morning
    This is a farce of stasis, not frenzied activity. By holding his characters literally captive — as the village is held, absurdly but violently, under siege — Kolirin forges an actual microcosm through which to examine the social and political status of Israel’s Arab community.
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